Tuesday, June 24, 2008
Sunday, June 22, 2008
Costs Of War
“Costs of War” is exactly the kind of thing that makes me believe in motion graphics. For the moment, put the subject matter aside. Maybe you agree with its message, maybe you don’t. Regardless, the method of communication is undeniably powerful. Let’s try to break down why this—and other visual essays like it—are such powerful creations.
1. Unity. The visuals, soundtrack and writing are united as one. Each is not there to bolster or decorate the other; they are interdependent and inextricably linked. The iconic graphics are instantly recognizable, allowing us to divvy up our remaining perceptual resources between the text and the animation.
2. Brevity. Two minutes or less. Our world is full of distractions and obligations. Motion designers are among the most attention deficit disordered people on the planet, so they understand this reality all too well. Motion design, in turn, should be short and sweet—or sour, in the case of this particular project.
3. Intensity. Despite what Michael Bay might think, intensity has nothing to do with NPM (Number of Explosions per Minute). Nor does it have anything to do with the number of elements in a scene or the gusto with which they enter/exit. Intensity increases as complexity decreases. Like any good essay, “Costs of War” focuses on one central argument and then pummels viewers with data to support that argument.
The project was created by Bran Dougherty-Johnson, who has a personal connection to the United States’ ongoing overseas conflicts. There are several startling statistics relating the costs of war available here and here.
But without the all important element of time, statistics alone feel disposable, ineffectual. By bringing them into the fourth dimension, Bran made them undeniable and real. You can feel the money draining away as the video marches purposely forward. The playhead becomes a slow-motion guillotine, along with all its attendant anxieties and urgencies to do something. Now
Massive Black and ConceptArt.Org REVELATIONS
Concept Art/Massive Black workshop in Seattle : Jan 3rd, 2008
Conceptual Artist Profile: Andrew Jones - Work and Influence
http://www.WatchMojo.com speaks with artist Andrew Jones and he explains some of his work and influences.
My Fav. Conceptual Artist Profile: Andrew Jones - Shape Sifter
http://www.WatchMojo.com meets conceptual artist Andrew Jones and finds out about his "shape sifting" technique as well as working with DJ's to create live artworks
My Fav. Conceptual Artist : Andrew Jones - Motivations
http://www.WatchMojo.com speaks with conceptual artist Andrew Jones and learns about some of the motivations behind his work.
Neo-Barrelism
Exhibition of paintings and installations by Chandraguptha Thenuwara.
Read more about it here :
http://webalochana.blogspot.com/2007/07/blog-post_27.html